王权的象征、圣礼图像还是“君王之镜”?——从《国王的两个身体》中对亚琛福音书卷首画的阐释谈起  

Symbol of Kingship,Image of Sacrement or“Mirror of Prince”:Starting with the Interpretation of the Frontispiece of the Luithar Cospels in the King’s Two Bodies

作　　者：杨道圣 Yang Daosheng

机构地区：[1]北京服装学院美术学院

出　　处：《艺术设计研究》2023年第3期109-115,共7页Art & Design Research

基　　金：国家社科基金艺术学重大项目“中华民族服饰文化研究”(批准号:18ZD20)的阶段性成果。

摘　　要：恩内斯特·康托洛维茨在《国王的两个身体》中,把亚琛福音书中奥托三世的图像作为论证奥托时期“以基督为中心的王权”的图像证据。康氏认为这幅图像的关键是奥托三世胸前的飘带,他利用统治者的图像志将其解释为分开天上和地上的幔子,因此把这幅图像看作一幅非常典型的政治神学的图像。本文根据艺术史家对于图像的上下文,图像的赞助者和观者的分析,指出这条飘带不是幔子而是经卷,表达的是敬献者对于君王的祈祷。根据近年来研究者对统治者图像的研究提出,这幅图像既非王权的象征,也非圣礼图像,而是作为统治者自我教育工具的“君王之镜”。In The King’s Two Bodies:A Study in Medieval Political Theology,Ernest Kontrowitz took the image of Otto III in the Luithar Gospels as the pictorial evidence to demonstrate the"Christocentric kingship"in the Ottonian period.Kontrowitz believed that the key to this image was the banderole on Otto III's chest,which he interpreted with the iconography of rulers as a curtain separating heaven and earth.So he took this image as a very typical image of political theology.Based on the analysis of art historians on the context of the images,the partons and viewers of the image,this paper points out that the banderole is not a curtain but a scroll,which expresses the worshippers'prayers for Otto III,hoping that he can learn to rule with the help of the Gospels and the Christ recorded in them.Therefore,the images and the Gospels are both the"mirror of the prince"for the emperor's self-education.

关 键 词：王权的象征 圣礼图像 “君王之镜” 亚琛福音书 奥托三世 统治者图像 

分 类 号：J05[艺术—艺术理论]